Immense creativity and a scholastic approach that does not compromise on the tradition of Carnatic music have been the hallmarks of guru Suguna Varadachari. Her disciple Vidya Kalyanaraman adheres to her teacher’s training. This was evident in her music concert in Kochi.
The recital, which was dedicated to composer Swati Tirunal, included his popular compositions such as the Ada tala Kamboji varnam and ‘Deva Deva Kalayamithe’ in Mayamalavagowla. When niraval to the line ‘Jaatarupa nibhachela’ sounded mundane in the first speed, the vocalist came up with some amazing variations in the second.
Attukal Balasubramaniam, on the violin, displayed his own creative sparks by coming up with a different muktayi in the swara passage. Through out the concert, Balasubramaniam seemed to be treading his own creative path, rather than blindly following the vocalist.
The vocalist sketched the swaroopa of Ananda Bhairavi within the first few phrases of alaapana and went on to present the famous navavaranam kriti of Dikshithar – ‘Kamalamba samrakshathu’. Vidya mostly followed the traditional route in singing kritis without disturbing the sangatis much. Sruti alignment and melody were distinctive in Balasubramaniam’s follow-up.
The vocalist introduced a different format in presenting Tyagaraja’s pancharatna kriti ‘Sadhinchane’. She sang the sahitya for the ettugada swaras, tagging them with the line of the pallavi and keeping the charanam ‘Samayaniki thagumatalatane’ in the end.
The vocalist’s Simhendramadhyamam alaapana had multiple varieties in akaara progressions. ‘Rama rama gunaseema’, the Swati kriti, was followed by a highly engaging and involved niraval on the line ‘Munimanasadhama’.
Decibels on the percussion front rose as G. Babu on the mridangam rhymed beat to beat with Adichanelloor Anil Kumar on the mridangam. When the vocalist demonstrated intricate, splendid swara korvais that blended swiftly, korvais from Babu on the mridangam had perfection and finish in the tani.
The vocalist selected Saveri raga for the pallavi segment and structured the first line of the ragamalika ‘Bhavayami raghuramam’ in Tisrajathi Triputa talam. She explored the niraval and the trikala exposition was kept short, before she ventured into swaras from a few ragas in the original ragamalika.
‘Baajat Murali murare’ in Patdeep and Dhanashree thillana were the closing pieces. Swati Tirunal Day was organised by Edappally Sangeeta Sadas at Changampuzha Samskarika Kendram, Edappally.
